Lalgudi Vijayalakshmi - Violin : Kalakshetra Foundation

[Sivaramakrishnan]

Trinity Festival organised by Kalakshetra Foundation, Chennai
22- 02-2022
6-8.30 pm

Smt Lalgudi Vijayalakshmi - Violin (Solo)
Sri V Sankaranarayanan - Mridangam
Sri K V Gopalakrishnan - Kanjira

Sruti (Pitch): 3 (E)

1 Nenarunchara - Simhavahani- Tyagaraja
2 Ravey Himagirikumari- Todi Swarajathi- Syama sastri
3 Santhanagopalakrishnam- Khamas- Dikshitar
4 Meenakshi mey mudam dehi- Purvikalyani- Dikshitar
5 Pariyachakama- Vanaspati- Tyagaraja
6 Anupamagunambudhi- Atana- Tyagaraja
7 Manasuswadheenamaina- sankarabharanam - Tyagaraja
8 Sreeramaa saraswathi sevithaam - Naasaamani - Dikshitar
9 Koluvaiyunnade- Devagandhari - Tyagaraja
Neenaamaroopa - Mangalam

The concert was on the second day of the series billed Trinity festival organised by Kalakshetra on 22 Feb 2022. I watched the live telecast and the streaming was of excellent quality.

The opening kriti Nenarunchara with swaras in various combinations for 'mukkaal edam' at Pallavi were enjoyable.

The Todi swarajati 'Ravey HimagiriKumari' with an outline of the Raga was presented with utmost fidelity to the sahitya aspect. This grand composition of Syama sastri is rarely heard in instrumental concerts and Vijayalakshmi did full justice to it with the right Kaalapramaana. Santhana Gopalakrishnam came in next with an attractive dancing pattern of kalpanaswaras matching the sahitya import of Narthana muralidharam.

This was followed by Meenakshi mey mudam preceded by a leisurely alaapana of Purvikalyani. The opening portion of the Pallavi had a varnamettu very slightly different from the popular version.

Pariyachakama and Anupamagunambudhi with compact swara passages came next in quick succession.

Sankarabharanam - the 'main' of the recital- was delineated in detail for Manasuswadheenamaina . The raga was played unhurriedly with equal attention to grammar as well as aesthetics perfectly in line with the Lalgudi Baani. Swaras were rendered at the pallavi offering a variety of phrases and laya patterns with a well designed korvai .

The percussionists - V Sankaranarayanan (Mridanga) and KV Gopalakrishnan (kanjira) -supported the lead artist finely with a good sense of anticipation and imagination. Their Tani for the 'main kriti' for an 'eduppu after two maathrai' was neat and matching the mood of the recital.

The concluding pieces were sreeramaa saraswathi (Nasaamani- Dikshitar) and Koluvaiyunnaade (Devagandhari). Being a programme under the trinity festival, kritis of other composers were not included.

I was listening to Vijayalakshmi playing a solo in the strict sense i.e., without the company of her brother GJR Krishnan and she fared well.

Special mention has to be made of the stage backdrop - superb and ethnic. Well, it is happening in Kalakshetra!

[Sivaramakrishnan]

link to the above concert

https://www.youtube.com/watch?v=rAb3ZTt69wM

[hnbhagavan]

Very good review and observation on Lalgudi Viji playing Fiddle without GJRK.
It is heartening to observe such chaste Solo performance.

[Sivaramakrishnan]

Trinity Festival organised by Kalakshetra Foundation, Chennai
22- 02-2022
6-8.30 pm

Smt Lalgudi Vijayalakshmi - Violin (Solo)
Sri R Sankaranarayanan - Mridangam
Sri K V Gopalakrishnan - Kanjira

Sruti (Pitch): 3 (E)

1 Nenarunchara - Simhavahani- Tyagaraja
2 Ravey Himagirikumari- Todi Swarajathi- Syama sastri
3 Santhanagopalakrishnam- Khamas- Dikshitar
4 Meenakshi mey mudam dehi- Purvikalyani- Dikshitar
5 Pariyachakama- Vanaspati- Tyagaraja
6 Anupamagunambudhi- Atana- Tyagaraja
7 Manasuswadheenamaina- sankarabharanam - Tyagaraja
8 Sreeramaa saraswathi sevithaam - Naasaamani - Dikshitar
9 Koluvaiyunnade- Devagandhari - Tyagaraja
Neenaamaroopa - Mangalam

The concert was on the second day of the series billed Trinity festival organised by Kalakshetra on 22 Feb 2022. I watched the live telecast and the streaming was of excellent quality.

The opening kriti Nenarunchara with swaras in various combinations for 'mukkaal edam' at Pallavi were enjoyable.

The Todi swarajati 'Ravey HimagiriKumari' with an outline of the Raga was presented with utmost fidelity to the sahitya aspect. This grand composition of Syama sastri is rarely heard in instrumental concerts and Vijayalakshmi did full justice to it with the right Kaalapramaana. Santhana Gopalakrishnam came in next with an attractive dancing pattern of kalpanaswaras matching the sahitya import of Narthana muralidharam.

This was followed by Meenakshi mey mudam preceded by a leisurely alaapana of Purvikalyani. The opening portion of the Pallavi had a varnamettu very slightly different from the popular version.

Pariyachakama and Anupamagunambudhi with compact swara passages came next in quick succession.

Sankarabharanam - the 'main' of the recital- was delineated in detail for Manasuswadheenamaina . The raga was played unhurriedly with equal attention to grammar as well as aesthetics perfectly in line with the Lalgudi Baani. Swaras were rendered at the pallavi offering a variety of phrases and laya patterns with a well designed korvai .

The percussionists - R Sankaranarayanan (Mridanga) and KV Gopalakrishnan (kanjira) -supported the lead artist finely with a good sense of anticipation and imagination. Their Tani for the 'main kriti' for an 'eduppu after two maathrai' was neat and matching the mood of the recital.

The concluding pieces were sreeramaa saraswathi (Nasaamani- Dikshitar) and Koluvaiyunnaade (Devagandhari). Being a programme under the trinity festival, kritis of other composers were not included.

I was listening to Vijayalakshmi playing a solo in the strict sense i.e., without the company of her brother GJR Krishnan and she fared well.

Special mention has to be made of the stage backdrop - superb and ethnic. Well, it is happening in Kalakshetra!

[rajeshnat]

Review of the same concert from The Hindu
https://www.thehindu.com/entertainment/ ... 076644.ece

[Sivaramakrishnan]

rajeshnat,
Thank you.